Miriam Margolyes is an actress I have watched and been captivated by for decades. She is of course the essential Dickensian character and she was perfect as a JK Rowling character too, and has been so in many other roles, both on TV and radio. I have often marvelled at her wonderful fluid and flexible voice on radio, and how incredibly versatile she is.
In her most recent appearance on our TV screens, investigating places round the world to retire to, the sheer roguish power of her personality is compelling. She slightly – and for some, greatly – outrages and offends us, yet I love her. She gives us permission to be who we are, whatever that may be, and she is a perfect example of being just exactly who she is, in total honesty and openness and freedom.
Despite the fact that she subverts the supposed ideal of feminine attractiveness in this very deluded society we live in, I think she is beautiful. She has eyes which shine with character and understanding and life. She is an intelligent and inspirational actress.
What does she have to say to us as creative writers? I read in an interview with Ernest Hemingway that as writers we have, above all, to be true to ourselves; and our most essential piece of equipment should be a “shock-proof shit-detector” (Hemingway’s words). A writing mentor once said to me, “If you’re going to be a writer you have to come clean with yourself.” For some that can be a lifetime’s journey. I do believe that as writers if we are deceiving ourselves in any way at all, it will work its way into our writing. And another quote is also compelling: “be sure that your audience will find you out.” Any writer can attest to that from reading their Amazon reviews.
But before you ever get to Amazon reviews you must deal with comments and feedback on your ms from beta readers and professional editors. Every criticism on your writing must be taken as reflecting on the work itself, and not on you as a person – something else that is very difficult for notoriously thin-skinned, sensitive writers.
What do you think? Do you relate to this at all? I’d welcome comments from fellow writers.
Among his many theories, Carl Jung includes “synchronicity”. This may be defined as “the meaningful patterning of two or more psycho-physical events not otherwise causally connected”. I’ve known of this theory for several years, and have seen it operating not only in my life but in the lives of others. Now I realise how it can help creative writers too.Let me give you a few examples of synchronicity in my own experience.
Honesty and truthfulness – these are the outstanding virtues of a great artist. And as a creative writer I have in recent times found inspiration from two contemporary artists, Grayson Perry and Tracy Emin.
Both artists hold personal challenges for me…
At a recent Writers Workshop which I attended in London, one of the delegates asked this question of all of us who sat at my table: “Is there anybody here who wants to become rich and famous?”
A silence followed, of about three seconds in duration, when it seemed that no writer present dared to admit to this hubris.
Then I spoke up, “Well, from the age of seven, I have wanted to become a successful published author and live by my writing.”
Nine pairs of eyes swivelled in my direction. Surely, by now, life had taught me otherwise? For what does it actually mean to “live by” your writing? It means a significant amount of reliable money, which flows persistently into the writer’s bank account over the course of many years.
And there is of course a universe of difference between living for your writing, and living by your writing. It is a popularly-held belief that that the word ‘novelist’ is synonymous with ‘huge advance and three-book deal’, and ‘bestselling author living in a mansion on an island with panoramic views of the ocean from his or her writing room in the tower.”
Nevertheless, you do need money to live. And if companies are prepared to pay a liveable amount of money, year in year out, to, say junior clerks and secretaries and post-boys, why should not the world also accord that privilege to creative writers? And of course it does, to a happy few.
What are your thoughts on this? Do you buy books secondhand, are you delighted when you pick up a book for a bargain? How do you believe the world should reward those who write books?
This morning I was listening to Howard Jacobson, comic novelist and Booker Prize winner, on Desert Island Discs, and among the many things he said which touched and amused me, the most striking was this, “I have always felt myself to be on the outside of everything, looking in.” He gave this reply to the interviewer’s question, “Now you’ve won the Booker, do you feel you’ve arrived? Do you now feel you’re on the inside?”
What a wonderful response she received to this question! And this seemed to me a true writer’s response. I identified with it absolutely. This is what I have spent my life doing. When I was researching for my newly-published novel Mystical Circles, I was an observer. I was on the outside looking in. I investigated many New Age spiritual groups and lifestyles and philosophies, and I always saw myself as being on the outside looking in – just as Juliet does in my novel. How anxious Juliet is not to get involved, not to be drawn in, to keep her objectivity as a journalist. It almost seems a personal threat to her to get involved. Yet as more than one character says to her, “You have to come alongside us to truly understand.”
My character the Rev. Theo sees this clearly. “I’m all about people on spiritual journeys,” he says. “I’ll go anywhere, come in on anything.” It is no contradiction to him, a young clergyman, to enter a New Age spiritual group and to come alongside the members of the community and to live as one of them.
So you, my readers, will probably have spotted the apparent contradiction here. Do I believe in being an outsider looking in? Or do I believe in getting involved, coming alongside? The truth lies in paradox. And this is the paradox Howard Jacobson embodies. Of course he is on the inside! Of course he has arrived! And yet – he has the soul of a writer. And so he feels always on the outside looking in.
Do you identify with Howard Jacobson at all when he describes himself feeling like this, despite being successful in the eyes of the world?